更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 208 件 弗朗切斯科·阿耶兹 作品收录于我们的目录中
简而言之
吻 (1859) 是 弗朗切斯科·阿耶兹 最受瞩目的画作；原作收藏于 米蘭 的 布雷拉畫廊。 随后，目光会移向 Cunnilingus, or oral sex performed on a woman 和 Sicilian Vespers scene 3 (1846)。 在 弗朗切斯科·阿耶兹 的 208 件作品中，这 100 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
创作于1859年的弗朗切斯科·海耶兹之作《吻》，绝不仅仅是对一场浪漫拥吻的简单描绘；它是意大利浪漫主义运动的浓缩精华，更是对“复兴运动”（Risorgimento）——即意大利争取统一斗争的深情写照。这部标志性的杰作超越了其表层的题材，演变成一种象征，承载着炽热的渴望、爱国主义的热忱，以及在动荡岁月中永恒不灭的爱情力量。这幅画作受阿尔方索·马里亚·维斯康蒂·迪·萨利塞托（Alfonso Maria Visconti di Saliceto）委托创作，迅速赢得了广泛赞誉，并随后被托付给享誉盛名的米兰布雷拉美术馆。时至今日，它依然以其深邃的情感深度和精湛的艺术技巧，持续令每一位观者为之倾倒。海耶兹大师般地运用了深受威尼斯风格影响的笔触，其特点在于丰富的色彩运用、戏剧性的光影效果，以及对情感叙事的极致强调——这些元素共同将《吻》确立为意大利艺术史中不可撼动的基石。
This black and white lithograph presents a close-up view of two figures engaged in an intimate sexual act. The scene is set within a bedroom, indicated by the presence of a bed or couch and a nightstand positioned to the right of the frame. The figures are arranged diagonally across the composition, creating a sense of physical tension. One figure is positioned above the other, focused on performing oral sex.…
Francesco Hayez's "Sicilian Vespers" (1846) isn’t merely a historical painting; it’s a visceral eruption of conflict, a meticulously crafted tableau of political intrigue and simmering rebellion. The canvas explodes with the energy of a sudden uprising, capturing not just an event but the very essence of chaos and determination. It's a scene ripped from the annals of 13th-century Sicily, where dynastic ambitions collided with papal authority, resulting in a protracted…
In this intimate drawing titled Sexual intercourse, the Italian painter Francesco Hayez moves away from his grand historical narratives to explore the raw mechanics of human desire. The subject matter is overtly sexual, presenting a scene of figures engaged in profound intimacy. It is a work that confronts taboo subjects through a direct, unvarnished lens. Rather than focusing on the aftermath, the sketch captures the tension of the moment. Both…
Created in 1830, The Marriage of Romeo and Juliet by Francesco Hayez translates a pivotal scene from William Shakespeare's play into a visual narrative. The work captures the union of the two central figures, focusing on the emotional gravity of their clandestine wedding. Hayez utilizes his technical command to render the essence of the literary tale through a structured, historical lens.
In 1851, Francesco Hayez captures the presence of Matilde Branca in the oil-on-canvas work titled Portrait, Matilde Juva-Branca. She moves through the frame not merely as a sitter, but as a woman of significant social standing, known to history as Matilde Juva by her marriage. As a celebrated opera singer, her voice once filled the air of her father's salon, a space that functioned as a central hub for musical…
Within the serene halls of the Museo Correr in Venice, Italy, resides a captivating tableau – “Wall Decoration (detail),” a tempera painting masterfully crafted by the esteemed Italian artist Francesco Hayez in 1817. More than just a decorative element, this work offers a poignant window into the artistic sensibilities and historical currents of its time, blending elements of Romanticism with Neoclassical restraint. The piece immediately draws the eye with its…
In this monochromatic sketch, we find ourselves in a private, unvarnished moment of human connection. The work is rendered with the raw immediacy of a preparatory study, utilizing the delicate, expressive language of pencil on paper. There is a certain honesty in the loose lines and the visible hatching that defines the forms, suggesting a scene captured in a moment of spontaneous observation rather than a polished, formal composition. The…
Francesco Hayez produced Self-Portrait in a Group of Friends (detail) in 1824. This oil on canvas work belongs to the Italian Romanticism movement. It functions as both a portrait and a depiction of a social gathering.
In the quietude of Francesco Hayez’s “Nude Woman Lying From The Back,” created around 1860, we encounter a profound moment of stillness that transcends the boundaries of time. This masterpiece of Italian Romanticism invites the viewer into an intimate sanctuary, where the soft contours of the female form are captured in a state of absolute repose. As one gazes upon the canvas, there is an immediate sense of serene vulnerability;…
Self-portrait with Tiger and Lion1830 · 波尔迪·佩措利博物馆
12
The Kiss1859
13
Wall Decoration (detail)1817 · 科雷尔博物馆
14
Pietro Rossi called to command the Venetian army1820 · 布雷拉畫廊
15
Secret accusation1847 · Musei Civici
16
Portrait of a Venetian woman1852
17
The Kiss1859
18
Back view of a bather1859
19
Portrait of Antoniet Vitali Sola1823
20
Portrait of Carlo Della Bianca1823 · 布雷拉畫廊
21
Overlapping wife back position on the swing
22
The meditation
23
The last kiss of Romeo and Juliet1823
24
Valenza Gradenigo faints in front of her father, the Inquisitor1832 · Villa Carlotta
25
Ruth1835
26
Ruth1835 · Museum of John Paul II Collection
27
Christ and the woman taken in adultery1841 · 沃尔特斯艺术博物馆
28
The woman from Ciociaria1842
29
Portrait of Gian Giacomo Poldi Pezzoli (detail)1851 · 波尔迪·佩措利博物馆
30
Portrait of Countess Antonietta Negroni Prati Morosini米兰现代美术馆
31
Priest Orlando of Parma sent by Arrigo IV of Germany and defended by Gregory VII against the just indignation of the Roman synod1857
32
Portrait of Antoniet Negroni Prati Morosini1872
33
Girl with folded hands1880
34
Portrait of Giovanni Battista Birago1823 · Ca’ Granda – Ospedale Maggiore Policlinico
35
Ephraim1843
36
Portrait of Pietro Francesco Visconti Borromeo1824 · Ca’ Granda – Ospedale Maggiore Policlinico
37
Portrait of Pompeo Marchesi1830
38
Portrait of Gian Giacomo Poldi Pezzoli1851 · 波尔迪·佩措利博物馆
39
The Last Moments of Doge Marin Faliero1867 · 布雷拉畫廊
40
Portrait of Carlo Calvi1820 · Ca’ Granda – Ospedale Maggiore Policlinico
41
Venetian women1853
42
Badende1832
43
Portrait, Camillo Benso Conte of Cavour1864
44
The Refugees of Parga1831 · Pinacoteca Civica
45
Family portrait1807
46
Portrait of Don Giulio Vigoni as a child1830
47
Woman from Ciociaria
48
The last moments of the Doge Marin Faliero
49
Portrait of Princess Di Sant 'Antimo1842
50
Portrait of Ferdinand I of Austria1840
51
Family portrait1807
52
Aristoteles1811
53
Odalisque with Book1866
54
Portrait, Giuseppe Roberti1819
55
Portrait of Familie Stampa di Soncino1822
56
Portrait, Conte Ninni1825
57
Giovanni David sulla scena de Gli arabi nelle Gallie''''1830
58
Portrait of Countess Luigia Douglas Scotti d'Adda1830
59
Bathsheba1827
60
Portrait of a man1834
61
Portrait of Cristina di Belgiojoso Trivulzio1832
62
Ritratto della contessa Teresa Zumali Marsili con il figlio Giuseppe1833
63
Lot and His Daughters1833
64
The Seventh Crusade before Jerusalem1838
65
Reclining Odalisque1839
66
Melancholic Thoughts1842
67
Un Pensiero Malinconico1842
68
Ephraim1843
69
Caterina Cornaro Deposed from the Throne of Cyprus1842
70
Portrait of Teresa Borri1848
71
Portrait of Felicina Caglio Perego di Cremnago1842
72
Portrait of Antoniet Tarsis Basilico1851
73
The Two Foscari1852 · 皮蒂宫
74
Portrait of Massimo d'Azeglio1860
75
Portrait of Conte Baglioni1860
76
Female nude1859 · 布雷拉畫廊
77
Carolina Zucchi (La Malata)1825
78
Inside the Harem1867
79
Portrait of Gioacchino Rossini1870
80
Odalisque1867
81
Self Portrait1878
82
Vengeance is Sworn1851
83
Socrates discovers Alcibiades in a brothel
84
Mutual masturbation
85
Self portrait布雷拉畫廊
86
untitled (5969)
87
The Portrait of Alessandro Manzoni
88
Malinconia
89
untitled (585)
90
untitled (2952)
91
untitled (3206)
92
untitled (5760)
93
untitled (3822)
94
Jacob and Esau
95
Portrait of Sir Carolina Grassi and Bignami White, sisters Gabrini
96
untitled (4623)
97
Peter the Hermit preached to the crusaders
98
Odalisque 1
99
The last kiss given to Juliet by Romeo
100
The Kiss
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 弗朗切斯科·阿耶兹 的作品 | 此列表中的画作 |
|---|---|---|---|
 布雷拉畫廊 |
米蘭 | 15 | 吻, Nude woman lying from the back, Pietro Rossi called to command the Venetian army |
 波尔迪·佩措利博物馆 |
米兰 | 5 | Self-Portrait in a Group of Friends (detail), Self-portrait with Tiger and Lion, Portrait of Gian Giacomo Poldi Pezzoli (detail) |
 Ca’ Granda – Ospedale Maggiore Policlinico |
米兰 | 3 | Portrait of Giovanni Battista Birago, Portrait of Pietro Francesco Visconti Borromeo, Portrait of Carlo Calvi |
 科雷尔博物馆 |
威尼斯 | 4 | Wall Decoration (detail), Wall Decoration (detail) |
 Civica Galleria d'Arte Moderna |
米兰 | 2 | Portrait, Matilde Juva-Branca |
 Villa Carlotta |
Tremezzina | 2 | Valenza Gradenigo faints in front of her father, the Inquisitor |
 国立现代美术馆 |
罗马 | 1 | Sicilian Vespers scene 3 |
 Musei Civici |
Pavia | 1 | Secret accusation |
选择一个年代，探索定义该时代的原创杰作。
The work before us is titled Family portrait, a piece painted by Francesco Hayez. Created in 1807, this oil on canvas captures a quiet moment of domesticity. It is a significant example of the artist's early development, reflecting the precision and clarity that would define his later career. The painting is currently held in the collection of the Museo Civico Luigi Bailo in Treviso, Italy.
Within the serene halls of the Museo Correr in Venice, Italy, resides a captivating tableau – “Wall Decoration (detail),” a tempera painting masterfully crafted by the esteemed Italian artist Francesco Hayez in 1817. More than just a decorative element, this work offers a poignant window into the artistic sensibilities and historical currents of its time, blending elements of Romanticism with Neoclassical restraint. The piece immediately draws the eye with its…
Francesco Hayez produced Self-Portrait in a Group of Friends (detail) in 1824. This oil on canvas work belongs to the Italian Romanticism movement. It functions as both a portrait and a depiction of a social gathering.
Created in 1830, The Marriage of Romeo and Juliet by Francesco Hayez translates a pivotal scene from William Shakespeare's play into a visual narrative. The work captures the union of the two central figures, focusing on the emotional gravity of their clandestine wedding. Hayez utilizes his technical command to render the essence of the literary tale through a structured, historical lens.
Francesco Hayez's "Sicilian Vespers" (1846) isn’t merely a historical painting; it’s a visceral eruption of conflict, a meticulously crafted tableau of political intrigue and simmering rebellion. The canvas explodes with the energy of a sudden uprising, capturing not just an event but the very essence of chaos and determination. It's a scene ripped from the annals of 13th-century Sicily, where dynastic ambitions collided with papal authority, resulting in a protracted…
创作于1859年的弗朗切斯科·海耶兹之作《吻》，绝不仅仅是对一场浪漫拥吻的简单描绘；它是意大利浪漫主义运动的浓缩精华，更是对“复兴运动”（Risorgimento）——即意大利争取统一斗争的深情写照。这部标志性的杰作超越了其表层的题材，演变成一种象征，承载着炽热的渴望、爱国主义的热忱，以及在动荡岁月中永恒不灭的爱情力量。这幅画作受阿尔方索·马里亚·维斯康蒂·迪·萨利塞托（Alfonso Maria Visconti di Saliceto）委托创作，迅速赢得了广泛赞誉，并随后被托付给享誉盛名的米兰布雷拉美术馆。时至今日，它依然以其深邃的情感深度和精湛的艺术技巧，持续令每一位观者为之倾倒。海耶兹大师般地运用了深受威尼斯风格影响的笔触，其特点在于丰富的色彩运用、戏剧性的光影效果，以及对情感叙事的极致强调——这些元素共同将《吻》确立为意大利艺术史中不可撼动的基石。
In the quietude of Francesco Hayez’s “Nude Woman Lying From The Back,” created around 1860, we encounter a profound moment of stillness that transcends the boundaries of time. This masterpiece of Italian Romanticism invites the viewer into an intimate sanctuary, where the soft contours of the female form are captured in a state of absolute repose. As one gazes upon the canvas, there is an immediate sense of serene vulnerability;…
The woman sits within an oval frame, her figure anchored by an ornate, gilded chair. She wears a dress of muted blue, the fabric falling in soft, heavy folds that catch a diffused light. Her hands rest quietly in her lap, holding a single pink flower. This small bloom provides the only sharp puncture of color against the cool tones of her attire. The background remains a soft, indistinct blur,…
In "Girl with folded hands" by Francesco Hayez, a sense of quiet devotion fills the space. The composition is an intimate close-up, presented in a three-quarter view that draws the viewer into the subject's private moment. Every detail focuses on the young woman's head, her shoulders, and her clasped hands. She wears a simple white garment that catches the light, contrasting sharply against a background of deep browns, ochre, and…
吻 (1859)，布雷拉畫廊, 米蘭。紧随其后的是 Cunnilingus, or oral sex performed on a woman 和 Sicilian Vespers scene 3 (1846)。
68岁：吻创作于1859年，弗朗切斯科·阿耶兹出生于1791年。
吻, Cunnilingus, or oral sex performed on a woman, Sicilian Vespers scene 3, Sexual intercourse, The Marriage of Romeo and Juliet, Portrait, Matilde Juva-Branca, Wall Decoration (detail), Cunnilingus, or oral sex performed on a woman, Self-Portrait in a Group of Friends (detail) 及 Nude woman lying from the back。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 208 件 弗朗切斯科·阿耶兹 的作品，创作年代从 1807 年至 1880 年。
多见于 布雷拉畫廊 (米蘭), 波尔迪·佩措利博物馆 (米兰) 及 Ca’ Granda – Ospedale Maggiore Policlinico (米兰)。上方的博物馆列表列出了所有相关机构。
在 1830s 期间：本页 100 件作品中有 17 件创作于该时期，其中包含 The Marriage of Romeo and Juliet 件作品。
在本页面中，最早的作品创作于 Family portrait (1807)，最晚的创作于 Girl with folded hands (1880)。
Woman (23), Man (16) 及 Portrait (15)，共计 100 件作品。
Oil On Canvas，共计 40 件（本页共有 100 件作品）。
根据本页面的原作，浪漫主义
吻, Nude woman lying from the back 及 Pietro Rossi called to command the Venetian army：布雷拉畫廊, 米蘭收藏了本页中 7 件作品。
在光影于运河上翩翩起舞的威尼斯，弗朗切斯科·海耶兹于1791年2月10日降生于这个充满诗意的世界。他出生于一个家境平实的家庭，是五个儿子中最小的一个。他的父亲乔万尼拥有法国血统，而母亲基亚拉·托尔切拉则是来自穆拉诺岛的女儿。即便在孩童时期，这个男孩对绘画展现出的天赋便已显露无遗，这种与生俱来的灵性，最终将他从家族平凡的日常生活中引领出来，投身于画布那深邃而复杂的艺术世界之中。
他通往艺术殿堂的征途并非始于宏伟的学院，而是始于叔父乔万尼·比纳斯科那静谧且严谨的工作室。作为一名艺术修复师的学徒，年轻的弗朗切斯科·海耶兹在潜移默化中习得了敏锐的观察力，以及处理他人杰作时所需的极致耐心。这段早期的磨炼为他日后宏大的艺术抱负奠定了坚实的技术基础。到了1806年，他的才华已足以支撑他前往米兰，并在那里加入了新美术学院。在那里，他追随泰奥多罗·马蒂尼学习，这位导师的悉心指导，塑造了他艺术创作初期的笔触与风格。
在威尼斯度过早年时光后，这位年轻的艺术家开始寻求大师的指引，以进一步精进他的画技。他曾跟随来自贝尔加莫的画家拉坦齐奥·奎雷纳（Lattanzio Querena）学习色彩的运用，这段扎实的技术训练为他日后在1809年赢得那场至关重要的竞赛奠定了基础。这次胜利为他赢得了前往罗马圣卢卡学院深造一年的宝贵机会，而这段在永恒之城的岁月，从根本上改变了他艺术发展的轨迹。在罗马，他穿梭于众多的艺术天才之间，在不断的交流中探寻着形体与光影交织的奥秘。
罗马给予他的远不止课堂上的教导，更是一个亲临伟大的机会。他曾无数次流连于梵蒂冈的壁画画室（Vatican Stanze），通过研习拉斐尔的杰作，学习如何构建复杂的叙事结构。同时，他也曾前往雕塑大师安东尼奥·卡诺瓦的工作室，近距离观察这位大师如何赋予大理石以生命。这些与古典主义及文艺复兴艺术的邂逅，深刻地塑造了他的艺术视野。最终，随着对威尼斯法雷蒂美术馆（Galleria Farsetti）的探访，他的正式艺术教育趋于圆满，在那里，他得以再次审视并汲取故乡深厚的艺术传统。
在笔触的运用上，即便面对那些足以震撼灵魂的题材，弗朗切斯科·海耶兹始终是一位严谨的艺术家。虽然他的主题选择往往倾向于浪漫主义那种情感炽热的特质，但其绘画技法却始终坚守着古典训练所赋予的清晰感。他偏爱清晰的轮廓线，这反映了他曾在罗马深受卡诺瓦与安格尔等大师影响的岁月。这种对精准度的追求，使他能够在新古典主义的严谨优雅与浪漫主义时代更具表现力的情感需求之间，游刃有余地穿梭。无论是运用油彩还是水彩，他都展现出了卓越的驾驭能力，既能描绘宏大的历史叙事，也能捕捉面部细微而亲密的细节。
在他的构图之中，总蕴含着一种微妙的张力，一种通过对光影精妙运用而营造出的静谧渴望。他运用戏剧性的明暗对比法（chiaroscuro），将人物从幽暗的背景中剥离出来，并以富有表现力的笔触为画面注入生命。这种手法在他的宏大历史画作与政治寓言画中尤为奏效，他借由描绘过去，向当下低语着真理。即便是在那些以细腻著称的肖像画中，他追求的也不仅仅是形似，而是试图捕捉坐在他面前的每一个灵魂最深处的本质。
艺术家的笔触在那些通过历史沧桑与浪漫情感震撼灵魂的作品中，找到了最深邃的表达。1859年，他创作了《吻》，这幅画作在当时备受赞誉，被同辈艺术家视为瑰宝。画面捕捉了一对恋人在俯瞰城市景观的阶梯上深情拥吻的瞬间，这一场景在许多人眼中，不仅是情感的迸发，更象征了那个时代动荡政治斗争下的精神缩影。他将叙事巧妙地编织进单一画面的能力，在《里纳尔多与阿米达》中得到了进一步体现，这幅作品的张力源自托尔夸托·塔索史诗《耶路撒冷解放》中的关键情节。在这里，画家在细节丰富的威尼斯森林背景下，描绘了一位王子与一位女巫之间波澜壮阔的爱情故事。
除了这些浪漫的邂逅，弗朗切斯科·海耶兹还将目光投向了沉重的历史厚度与神圣叙事的庄严感。在1853年的一幅油画中，他描绘了圣经人物路得，精准地捕捉到了这位摩阿布女性的生命神韵。他在历史叙事方面的造诣，在《教皇乌尔班二世在克莱蒙广场宣讲第一次十字军东征》中展现得淋漓尽致，这件作品证明了他对宏大且具戏剧性构图的驾驭能力。在他生命的后期，大约在1867年，他创作了《总督马林·法列罗的最后时刻》，这幅作品映射出他晚年沉静而肃穆的艺术底色。
在画室那份静谧的孤独之外，弗朗切斯科·海耶兹的足迹早已深入米兰社会最具影响力的圈层。凭借过人的天赋与沉稳的笔触，他在布雷拉美术学院赢得了崇高的地位，并出任绘画教授。随着岁月的流转，他对这所艺术殿堂的奉献日益深厚，最终在1860年受命出任布雷拉美术学院院长。通过这些重要的社会角色，他不仅塑造了无数追随者手中的技艺，更深刻地影响了那个时代艺术探索的思想灵魂。
人们对他的作品有着近乎狂热的需求，因为无数人渴望通过他的画笔，捕捉属于他们自己的历史记忆与情感共鸣。阿尔方索·马里亚·维斯康蒂·迪·萨利切托曾委托他创作那幅著名的拥吻场景，这件杰作后来在 布雷拉美术学院 找到了它的归宿。此外，也有其他赞助人希望他能处理更为私密或具有宗教色彩的题材，例如来自博洛尼亚的塞韦里诺·博诺拉，他曾请求海耶兹描绘《路得》这一主题。这些委托不仅仅是简单的艺术交易，它们与当时的社会脉动和政治潮流紧密交织在一起。
海耶兹笔下意象的深远影响力，甚至导致了同一主题被多次重现。虽然他最著名的那幅拥吻之作最初是为贵族收藏而作，但米柳斯家族在1861年又委托创作了第二个版本。这种艺术创作的重复与延续，充分证明了他的艺术视野是如何在19世纪的家族与收藏家心中激起层层涟漪，也确立了他在意大利精英阶层私人收藏殿堂中不可撼动的地位。
弗朗切斯科·海耶兹对意大利浪漫主义运动的影响是毋庸置疑的，因为他宛如一座连接两个时代的桥梁。在意大利绘画史上，他是从新古典主义那严谨清晰的结构，向浪漫主义深邃情感表达转型的最重要人物。尽管他的绘画技法往往保留了他在罗马时期所习得的清晰轮廓与精准笔触，但他的内心却始终属于那些定义了一个变革中民族的戏剧性叙事与政治寓言。他深谙如何利用过去的语言来诉说当下的激情，常常巧妙地将意大利复兴运动（Risorgimento）中炽热的理想主义，包裹在历史场景之中，以避开审查者的目光。
长期以来，他的画布一直是艺术史学家和艺术爱好者的研究课题，人们试图通过这些作品去理解19世纪意大利那不断变迁的灵魂。通过将学院派的正式训练与一种全新的、极具表现力的感性相结合，他为那个民族觉醒的剧烈时期提供了一套视觉语言。这种将古典纪律与浪漫情感完美融合的能力，确保了他的作品不会仅仅消逝在历史长河中，而是会持续激励着一代又一代的艺术家，去捕捉那在时代洪流中变幻莫测的人类精神。
漫步在米兰的艺术殿堂中，仿佛能随处邂逅弗朗切斯科·海耶兹那多变而深邃的艺术灵魂。布雷拉美术馆（Pinacoteca di Brera）始终是追寻他笔触的首选之地，那里珍藏着多件足以映射他与这座城市艺术生命紧密联结的杰作。而在不远处，米兰市立现代艺术画廊亦保存着令人惊叹的藏品，确保他在当地艺术版图中始终占据着举足轻重的地位。若想进一步领略他的神韵，亦可在波尔迪·佩佐利博物馆中寻得踪迹，馆内多幅画作正向公众展示着他细腻的笔触。
他的艺术影响力并未止步于米兰，更深入到了罗马的心脏地带。在罗马，圣卢卡学院（Accademia di San Luca）悉心守护着《奥尔库诺斯宫廷中的尤利西斯》Ulysses at the Court of Alcinous，这件作品无声地诉说着他青年时代所受到的古典主义熏陶。通过这些跨越地域的收藏，观者得以见证他的艺术风格是如何从严谨的学院派传统，逐渐蜕变为成熟期那充满情感张力的叙事篇章。
